QSC K.2 Series Powered Loudspeakers
Street Price: Starting at $649.99
The hardest part of testing these speakers was returning them. They provide the functionality I want in a powered speaker along with an amazing sound. The clarity and richness of the bass was top-notch, more than expected given the initial testing was without the sub. Besides great sound, the little things stand out--like the locking AC plug.
The QSC K-series of powered speakers has become an industry-standard for many a bands, clubs and churches. The new 2,000-watt K.2-series, which debuted earlier this year, takes the quality, power and functionality up several levels and includes an easy-to-use, rear-display digital signal processor (DSP) while still providing tremendous audio clarity.
The clarity and richness of the bass was top-notch, more than expected given the initial testing was without the sub.
The K.2-series comes in three sizes: 8-, 10- and 12-inch low-frequency cones, each with 1.4-inch titanium compression drivers. The coverage range varies by model; 105 degrees for the K8.2, 90 degrees for the K10.2, and 75 degrees for the K12.2. The powered speaker line is capable of up to 132 dB SPL with the 2,000-watt amp cranking out 1,800 watts of peak power for the low end and 225 watts on the high end.Weight is important in portability, and they range from 27 pounds to 39 pounds. The ergonomic handle on the top and, in the case of the larger speakers, the side, make hauling these around a snap.
Frequency response begins around from 45-55 Hz on the low end with the 12-inch version able to crank out the bass at 45 Hz. It tops out at 20 kHz. Testing would prove the speakers more than capable of dishing out the low-end frequencies.
These new versions have three different input channels, noted as A, B, and C on the rear of the speakers. The first channel can be selected for use with either mic or line inputs, then second can be selected for either hi-impedance or line input and each has a jack for an optional pass-through such as to a powered sub. The third channel is only for a 3.5-mm input, which accepts a stereo source but sums to mono. The speaker also has a summed-channel output that’s post-gain.
The onboard DSP allows for global control of all inputs, including selection of eleven sound presets. These include Live, Acoustic Guitar/Vocal, Hand Mic, Bass Amp, two Stage Monitor options and Studio Monitor. As hinted by the name of the presents, a speaker can be placed on its side and used as a stage monitor monitor with updated 55-degree angle or upright as a bass amp. Optionally, there’s a configurable multi-band EQ that can be set instead. They also have crossover controls, and time delay.Speaker-level controls enable user scenes among the more mentionable functions. For gigging musicians or any tech that uses this as a portable system in multiple venues, the settings can be saved and recalled as scenes the next time they’re in that venue.
The K.2s also use Directivity-Matched Transition (DMT) technology to ensure smooth consistent reproduction of all frequencies within the listening area. This is important when dealing with mid-range frequencies in the crossover area of 2 kHz.QSC is also adding, within the K.2-series, a dual 12-inch powered subwoofer. The KS212C is a 180-degree cardioid sub with a directional coverage pattern, powered by a 3,600-watt amplifier, with an onboard DSP module. Frequency response is rated at 40 Hz to 118 Hz. These black birch plywood subs will weigh just under 90 pounds but come with four heavy-duty casters for easy transport.
Testing with the band
QSC provided two models for testing, the K8.2 and K12.2, along with a regular K-series sub. The new KS212C sub version wasn't available yet. They come with a six-year warranty. The K12.2's were connected on stage via an XLR cable to our Yamaha RIO box, with a full send of our house mix. For initial testing, the Default DSP preset was used. It was very tempting to start with the Live preset, but my desire was to hear the speakers’ natural sound. The band started with a line check, so while channel gains were set the audio reproduction quality of each instrument and vocal could be evaluated.
What immediately caught our attention was the bass guitar and drum channels. The bass response of the K12.2 starts at 45 Hz, but the clarity and richness of the bass was top-notch, more than expected given the initial testing was without the sub. If it was any indication of the capability of the KS212C sub, then this was to be a powerful combination.
The drums sounded solid, though what stood out was the high frequencies produced by the cymbals. The cymbal sizzle was amazing which, when paired with the ample low end, showed the K.2-series is a sonically well-rounded speaker line.Our worship band, comprised of eight musicians with a standard contemporary-format line-up, was able to provide a wide range of program material for our evaluation. We didn’t find any frequency area that appeared mushy or otherwise lacked clarity though admittedly much of that is controlled at the audio console. The DSP controls were tested next, with a focus being on the presets. The onboard multi-band EQ does provide some level of granular control though I fathom most users would use the presets. The presets vary by application, and for our live band I tried three options: Default, Live, and Live Bright. The Live option was a slight improvement over the Default, balancing frequencies prone to feedback. The Live and Live Bright options were split-tested and our church sound team agreed the Live Bright setting added undesirable harshness to our band. With a different band composition or a different application, it might be the perfect preset with its addition of more high-end.
Testing with recorded music
The next test took advantage of the 3.5-mm rear jack with apologies to the neighbors--louder is better, isn't it? Wagner, Strauss, yes, it would start with classical music. Next was Mozart: “Le nozze di Figaro,” conducted by René Jacobs. Powerful, clear, exquisite, perhaps the way Mozart heard it himself. Then, Mozart's “Requiem: Confutatis” with the choir of King's College sounding angelic. Classical music exposes a speaker’s audio quality faults, and the K.2’s passed with flying colors.Ben Fold's song, “The Luckiest,” was in nice contrast, from the fullness of an orchestra to one man and a piano. His voice is raw and the speaker did a great job of reproducing the mid-range frequencies--something they did with all the music we ran through them. Overall, the speaker reproduced it exactly as I'd expected. It wasn't until I heard the old song “Angel,” by Sarah McLachlan, that the speakers showed their strength. I never felt the emotional impact of that song until I played it through the K8.2 speakers. The next music tests were with more modern rock/pop songs by Sing Street, Snarky Puppy, and with a throwback to Stevie Ray Vaughn’s “Tin Pan Alley.” Frequency response was almost consistent across volume levels with one minor noted exception. The last test was the new release by Armin van Buuren and Josh Cumbee, “Sunny Days.” The electric guitar was sparkling, the multiple bass lines were thumping and impactful, and the vocals were more than perfect. I did notice the bass didn’t stand out at a very low volume level but a live event would require a much higher volume, so this was chalked up to a non-issue.
Pros and cons
The benefits of the K.2-series should be clear, but there are little things that stand out like the locking AC plug. I’ve seen AC cables come loose in permanent installations, so this seems like a no-brainer for a powered speakers. Why aren’t other manufacturers doing this?
We also like the pole-mounting options. Too many times, powered speakers are set up on poles, on stage, and pointed at the back of the room. The first quarter of the audience is outside of the on-axis coverage range. All of the K.2s include two holes for pole mounting--the standard mount and a 7.5-degree mount to angle the speakers for better room coverage. They can also be wall- or truss-mounted truss-mounted with a yoke-mount accessory. The LCD screens auto-dims after 30 seconds, great when the speakers are on a dark stage or when using as stage monitors. And, the DSP controls all channels globally, creating a simple solution for a guitar player/vocalist to get a great sounding PA without complicated settings or external equipment. Add in the savable scenes and it’s a great package.
QSC dropped the RCA input jacks and replaced it with the 3.5-mm input, but this isn't a loss in my book. In a typical installation, the speakers will receive just one signal containing the house mix. Gigging bands and portable churches will appreciate the 3.5-mm jack, which provides a means of hooking up a smart device, such as an iPad, for playing walk-in music, backing tracks or music playlists.If there is any down-side to the new QSC K.2-series, it’s the noticeable delay when the speakers are first turned on (five or six seconds).. This is due to the powerful DSP and the microprocessor which require more time than expected to boot up.
The hardest part of testing these speakers was returning them. They provide the functionality I want in a powered speaker, along with an amazing sound.
